MM: We continue
our program with fragments of the four sonatas opus 17 for violin and
piano, which the Moravian composer Vaclav Cashorcheck wrote for the duo
formed by the violinist Rudolf von Lichtenkraut and his wife, the pianist
Gundula von von Lichtenkraut, who had settled in Prague, the capital of
The first sonata of the opus 17 is composed with passion, in fact in a
real seizure: passion, in the style of romantic composers in general,
and seizure, from some of them in particular. During the first performance
of this sonata number one, a real scandal broke out. From the very outset,
the audience split in two: while some people whistled and booed, the others
stomped-out of the hall.
We begin with a fragment of the sonata number one, opus 17, for violin
and piano, by Vaclav Cashorcheck, in its original version, as it was first
performed by Rudolf and Gundula von Lichtenkraut.
y Rudolff tocan un fragmento de la primera sonata)
following spring, Cashorcheck travelled to Prague and met the von Lichtenkrauts
personally. For Cashorcheck, seeing Gundula, falling head-over-heels in
love, walking all night along the banks of the Moldau, spending two days
drunk in a tavern, and a week composing the second sonata of the opus
17, with her in mind, was all a matter of an instant.
On the night of the first performance, the glances which Gundula cast
at the box occupied by Cashorcheck seemed to indicate that she did not
In this sonata number two, reflecting his feelings towards Gundula, the
composer gave more importance to the role of the piano, as the Prague
audience was able
to verify on the night of the first performance.
la pianista tiene partes de gran lucimiento,
el violinista solo toca unas pocas notas de acompañamiento)
faithful to the respect due her husband, felt she could not surrender
to Cashorcheck's amorous advances. Until one afternoon she verified that
she could certainly do so.
The meetings between Gundula and Vaclav became ever more frequent and
the passionate maelstrom they lived through ... maelstrom? ...Hmm ...
the passionate whatever they lived through ... is reflected in the sonata
number three the following fall, in the presence of the composer.
The audience on that night was struck by the excessive importance given
by Cashorcheck to the violin solos.
Rudolff debe tocar largos pasajes solo, Gundula abandona el piano
para encontrarse con Mastropiero tras el escenario)
discovered the betrayal and harshly reproached Cashorcheck. He mentioned
the word duel and made a reference to his seconds. In the face of Vaclav's
passivity, he mentioned the word swine and made a reference to his second,
third and fourth generations.
Things having reached this point, Cashorcheck reacted and, facing up to
von Lichtenkraut, said to him, "C'mon, man, what's the matter?..."
Von Lichtenkraut hurled a glove in his face. Cashorcheck then realized
that he could not refuse the challenge. The next day he sent his seconds
to arrange a duel with von Lichtenkraut, put his papers in order, wrote
Gundula a pathetic letter ... and fled from Prague.
Gundula, disappointed, returned to Rudolf's arms, more in love than ever.
Cashorcheck, filled with resentment towards both of them, composed the
sonata number four, the last part of the opus 17, with strange notations
in the score, which Gundula and Rudolf von Lichtenkraut, being under contract,
were forced to respect.
debe ejecutar complicadas y molestas posturas, y golpear a Gundula
de vez en cuando, así como bajar la tapa del piano finalmente sobre